James L. Acord was one of the most interesting artists ever to live in these parts, as Seattle's Philip Schuyler explained in his two-part New Yorker profile in 1991.
A great tribute to him by his best friend describes his approach:
Through the 1990s, Acord worked on a project to attempt to convince the nuclear industry of the long-term dangers posed by the ways nuclear waste is stored. The ways he tried to do this were manifold. His proposal to transmute technetium 99 to ruthenium 100 as part of a transformative work of art was looked upon seriously.